Puny Plagiarism: Why Did Jonah Lehrer Bother to Resign?

Jonah Lehrer faked some Bob Dylan quotes for his book and then resigned from the New Yorker where he worked as a staff writer.

He shouldn’t have bothered. What’s wrong with a little plagiarism in the service of clarity? Big damn deal.

If what’s come out about Lehrer’s plagiarism thus far is the extent of it, we’d argue he should have defended himself, not crumpled up in abject misery and guilt.

Why? Maybe because Modern Western society is one large lie built on top of a series of fundamental falsehoods. Plagiarism and copyright violations, for instance, are twin sins designed to torture mass communicators while the globalists that create and enforce such cockamamie criminality continue to promote their surreptitious one-world government via war, economic depression and endless authoritarianism.

Until the 18th century according to Wikipedia and other sources, plagiarism wasn’t even defined as a negative practice. It was only with the advent of romanticism and the idea of the artist as the ultimate individualist that the idea of plagiarism apparently began to take hold – no doubt for very specific reasons.

Like copyright violations, plagiarism was surely invented to retard the free-flow of information and generally to create the illusion that even the act of writing could be a criminal occupation. Information is the enemy of the elitist conspiracy, after all.

A crucial part of Lehrer’s thesis was that Dylan couldn’t, or didn’t want to, explain his creative process. One of the passages that brought Lehrer down had Dylan reportedly saying, “’I’ve got nothing to say about these things I write,’ [Dylan] insisted. ‘I just write them. There’s no great message. Stop asking me to explain.'”

The last phrase is the one Lehrer apparently made up or “piecemealed” together. But top “Dylan-ologists” claim that Dylan is on the record saying much of what Lehrer claimed he did one way or another. It’s long been evident that Dylan is uncomfortable with mining his artistic muse too deeply.

Of course, it could be because Dylan is not really much of a wordsmith. His best lyrics tend to be somewhat indecipherable while his worst lyrics are plenty bad. Here’s one lyric from Lay Lady Lay:

Stay, lady, stay, stay with your man awhile
Why wait any longer for the world to begin
You can have your cake and eat it too …

Compare this to a similar sentiment expressed by his namesake, Dylan Thomas:

From the first scent of the heart, the warning ghost,
And to the first dumb wonder at the flesh,
The sun was red, the moon was grey,
The earth and sky were as two mountains meeting.

See the difference? Dylan was for the most part seemingly a manufactured star, marketed by the same record industry that has earned the deserved scorn of many musicians in the modern era from Michael Jackson to DMX. In at least one interview, he’s admitted as much, as have other victims of the modern record industry.

There are however, much larger issues. It is by now well known to informed readers of the alternative press (or should be) that the entire hippy era was likely manufactured.

What after all, for instance, are the odds that U.S. Navy Admiral George Stephen Morrison would have allegedly come under attack while patrolling Vietnam’s Tonkin Gulf (thus setting off the Vietnam War) while his son Jim would only a few years later become one of the biggest rock stars in the world?

David McGowan – in his expose of the Intel-controlled flower-power music scene (Inside The LC: The Strange but Mostly True Story of Laurel Canyon and the Birth of the Hippie Generation) – explains this quite well, mentioning such names as John Phillips, Stephen Stills, David Crosby, Jackson Browne, Gerry Beckley, Dan Peek, Dewey Bunnell, Mike Nesmith, Gram Parsons.

All these and many more (like Morrison) came from military families as well as “blood” families and all of them ended up in Laurel Canyon suddenly making hit songs around the same time, sometimes without reading music or a musical background.

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All these folks gathered nearly simultaneously along the narrow, winding roads of Laurel Canyon. They came from across the country – although the Washington, DC area was noticeably over-represented – as well as from Canada and England. They came even though, at the time, there wasn’t much of a pop music industry in Los Angeles. They came even though, at the time, there was no live pop music scene to speak of. They came even though, in retrospect, there was no discernable reason for them to do so.

It would, of course, make sense these days for an aspiring musician to venture out to Los Angeles. But in those days, the centers of the music universe were Nashville, Detroit and New York. It wasn’t the industry that drew the Laurel Canyon crowd, you see, but rather the Laurel Canyon crowd that transformed Los Angeles into the epicenter of the music industry. To what then do we attribute this unprecedented gathering of future musical superstars in the hills above Los Angeles? What was it that inspired them all to head out west? Perhaps Neil Young said it best when he told an interviewer that he couldn’t really say why he headed out to LA circa 1966; he and others “were just going like Lemmings.” (-Inside The LC)

Like lemmings.

US Intel distributed acid to millions on the West Coast and set the stage: The movement was surely manufactured to split up the family, encourage more state control via socialism and generally degrade the capabilities of the Baby Boom generation via anti-intellectualism and hedonism.

Today, the trap begins to close. This is the “big story” that Lehrer should have reported on instead of the “genius” of Bob Dylan.

Lehrer is quoted as saying contritely: “The lies are over now. I understand the gravity of my position. I want to apologize to everyone I have let down, especially my editors and readers.”

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